1 00:00:00,240 --> 00:00:02,200 Speaker 1: Tom Bailey is going to be at the Asta Theater 2 00:00:02,320 --> 00:00:05,160 Speaker 1: on Sunday, October thirty tickets as her Ticke Tech. He's 3 00:00:05,240 --> 00:00:06,480 Speaker 1: joining us this morning. 4 00:00:06,559 --> 00:00:08,879 Speaker 2: Good morning, Tom, Good morning to you. 5 00:00:08,920 --> 00:00:12,360 Speaker 1: How are you very well? Very well Tom, of course 6 00:00:12,600 --> 00:00:15,720 Speaker 1: of the Thompson Twins, one of our favorite bands from 7 00:00:15,760 --> 00:00:17,360 Speaker 1: the eighties. Tell us about the show you're going to 8 00:00:17,400 --> 00:00:18,680 Speaker 1: perform Into the Gap in fall. 9 00:00:19,000 --> 00:00:20,919 Speaker 2: That's right, and for the first time, in fact, we 10 00:00:20,960 --> 00:00:24,759 Speaker 2: haven't done this before. It's a new idea, and you know, 11 00:00:24,880 --> 00:00:28,360 Speaker 2: there's been some demand to hear those I guess the 12 00:00:28,440 --> 00:00:30,960 Speaker 2: tracks on side too that never get played on the radio, 13 00:00:32,640 --> 00:00:35,800 Speaker 2: but fans, you know, are still keen on them. So 14 00:00:36,600 --> 00:00:39,479 Speaker 2: it's created a bit of interest to do that. But 15 00:00:39,520 --> 00:00:42,159 Speaker 2: it's also of interesting for me too to revisit some 16 00:00:42,240 --> 00:00:43,440 Speaker 2: of those forgotten songs. 17 00:00:44,520 --> 00:00:46,760 Speaker 3: It was a monster album time you mentioned the side too. 18 00:00:46,800 --> 00:00:48,920 Speaker 3: A lot of fans, young fans and now discovering because 19 00:00:48,960 --> 00:00:50,920 Speaker 3: the vinyl is so huge again and they get to 20 00:00:50,920 --> 00:00:51,879 Speaker 3: flip the album over. 21 00:00:52,720 --> 00:00:55,640 Speaker 2: That's that's right. Yeah. I mean, I've been doing a 22 00:00:55,680 --> 00:00:58,640 Speaker 2: summer of festivals here in the UK and I'm noticing 23 00:00:58,680 --> 00:01:03,040 Speaker 2: younger and younger face is in the front row. So yeah, 24 00:01:03,080 --> 00:01:06,000 Speaker 2: I guess it's an effect of the Internet is that 25 00:01:06,040 --> 00:01:08,560 Speaker 2: everyone's got this library of music stretching all the way 26 00:01:08,560 --> 00:01:12,200 Speaker 2: back to the beginning of recorded sound, and they use it. 27 00:01:12,200 --> 00:01:12,959 Speaker 2: It's a great thing. 28 00:01:13,319 --> 00:01:15,480 Speaker 1: And when it's good music, you get a second generation 29 00:01:15,600 --> 00:01:17,640 Speaker 1: because they come with their parents. 30 00:01:17,800 --> 00:01:21,720 Speaker 2: See yeah, I mean it's partly demographic and partly we 31 00:01:21,840 --> 00:01:24,600 Speaker 2: just hope that, as you say, good music enduals and 32 00:01:24,720 --> 00:01:25,920 Speaker 2: spreads itself around. 33 00:01:26,280 --> 00:01:28,480 Speaker 1: This is your first headline tour of Australia in more 34 00:01:28,520 --> 00:01:31,360 Speaker 1: than thirty five years. Why hasn't been so long? 35 00:01:31,680 --> 00:01:33,959 Speaker 2: Well, I took a twenty seven year break. 36 00:01:34,120 --> 00:01:37,560 Speaker 1: Okay, all right, fair enough. 37 00:01:38,680 --> 00:01:41,920 Speaker 2: I'd actually quit the you know, the kind of mainstream 38 00:01:42,000 --> 00:01:44,920 Speaker 2: pop music business for a long time. And it was 39 00:01:45,000 --> 00:01:47,560 Speaker 2: almost bad accident that I got back into it and 40 00:01:47,680 --> 00:01:50,040 Speaker 2: realized I was enjoying it so much. And so that's 41 00:01:50,080 --> 00:01:52,600 Speaker 2: now what I'm doing. But with a new band and 42 00:01:52,640 --> 00:01:56,520 Speaker 2: a new musician. I have fabulous musicians that are all female, 43 00:01:56,560 --> 00:01:59,720 Speaker 2: by the way, and which is an interesting dynamic and 44 00:01:59,720 --> 00:02:03,560 Speaker 2: gets away from that kind of that assumption that rock 45 00:02:03,600 --> 00:02:06,240 Speaker 2: and roll has to be four guys standing on a stage. 46 00:02:06,880 --> 00:02:11,760 Speaker 2: So I find it very interesting. But of course, the 47 00:02:11,840 --> 00:02:13,760 Speaker 2: real thing that's going, and it doesn't matter how well 48 00:02:13,800 --> 00:02:16,760 Speaker 2: you play. Actually, it's the emotional connection with the audience, 49 00:02:16,960 --> 00:02:20,920 Speaker 2: which to some extent relies on the memory of those songs. 50 00:02:22,720 --> 00:02:24,760 Speaker 2: But you know, so we can play really well, but 51 00:02:24,760 --> 00:02:27,600 Speaker 2: if that doesn't happen, if the connection doesn't happen, then 52 00:02:27,680 --> 00:02:31,240 Speaker 2: it's a wasted gig for me. Luckily it usually does 53 00:02:31,320 --> 00:02:34,079 Speaker 2: because there's a lot of affection for those songs and 54 00:02:34,120 --> 00:02:36,519 Speaker 2: the way that it triggers memories of those times as well. 55 00:02:36,639 --> 00:02:38,760 Speaker 3: Absolutely well, there was definitely a connection. The last time 56 00:02:38,760 --> 00:02:40,799 Speaker 3: you're here, mat it was twenty seventeen with the Human 57 00:02:40,919 --> 00:02:43,040 Speaker 3: League and Culture Club. It was a great night. And 58 00:02:43,080 --> 00:02:45,639 Speaker 3: the thing I got is yourself and feel like you 59 00:02:45,720 --> 00:02:48,760 Speaker 3: from Human leg Your voices send so incredibly the same. 60 00:02:48,760 --> 00:02:50,760 Speaker 3: Why don't you get some sort of sacred look after it? 61 00:02:50,800 --> 00:02:51,640 Speaker 3: What's your magic? 62 00:02:52,680 --> 00:02:55,240 Speaker 2: Wow? Well, I don't know about that. I mean because 63 00:02:56,360 --> 00:02:59,360 Speaker 2: for a long time in my career I was a 64 00:02:59,440 --> 00:03:03,280 Speaker 2: terrible I didn't drink, to be honest, but smoking is 65 00:03:03,280 --> 00:03:05,760 Speaker 2: probably the worst thing you can do for your voice. 66 00:03:06,520 --> 00:03:09,920 Speaker 2: Maybe the twenty seven year break had to rest. 67 00:03:13,280 --> 00:03:15,280 Speaker 1: So when you were with Toms and Twins, you weren't 68 00:03:15,320 --> 00:03:17,600 Speaker 1: four guys on a stage. You were the amazing Alanta 69 00:03:17,639 --> 00:03:21,320 Speaker 1: Curry and Joe and yourself. Three people tops and twins 70 00:03:21,560 --> 00:03:24,200 Speaker 1: confused us all for years. How many times over the 71 00:03:24,280 --> 00:03:26,000 Speaker 1: years have you been asked if you are a twin? 72 00:03:26,560 --> 00:03:28,720 Speaker 2: That's right? Yeah, I mean I still see comments on 73 00:03:28,720 --> 00:03:31,840 Speaker 2: the internet. Now come easy twin, blah blah blah. But 74 00:03:32,960 --> 00:03:35,600 Speaker 2: it's interesting you mentioned that we were in a sense 75 00:03:35,600 --> 00:03:39,960 Speaker 2: of mold breaking lineup to have black, white male female 76 00:03:40,000 --> 00:03:43,440 Speaker 2: in the same band. I think that's you know, it's 77 00:03:43,520 --> 00:03:46,120 Speaker 2: kind of important to realize that rock and roll is 78 00:03:46,160 --> 00:03:48,960 Speaker 2: not just about music. It's about social change as well. 79 00:03:48,960 --> 00:03:51,000 Speaker 2: You know, that's the reason we all do it. I 80 00:03:51,000 --> 00:03:55,320 Speaker 2: think really it's a kind of glamorous and sexy way 81 00:03:55,320 --> 00:03:56,760 Speaker 2: of making the world a better place. 82 00:03:56,880 --> 00:04:00,800 Speaker 3: Yeah yeah, what was definitely became a better place. Why 83 00:04:00,800 --> 00:04:04,040 Speaker 3: did you play Philadelphia? And why Dave Lehnman's band behind you? 84 00:04:04,040 --> 00:04:05,240 Speaker 3: He had some stars with you as well. 85 00:04:05,400 --> 00:04:08,600 Speaker 2: Oh well, we were in New York recording with Nile Rodgers, 86 00:04:08,800 --> 00:04:11,520 Speaker 2: and the whole business of moving back to London to 87 00:04:11,560 --> 00:04:15,080 Speaker 2: do it there descended two difficult at the time because 88 00:04:15,120 --> 00:04:16,719 Speaker 2: we were up to our noses in a kind of 89 00:04:16,720 --> 00:04:19,440 Speaker 2: croative pursuit in New York. So we said can we 90 00:04:19,480 --> 00:04:23,039 Speaker 2: please play in Philadelphia? Then they agreed, and then we 91 00:04:23,120 --> 00:04:26,440 Speaker 2: had an immediate problem of our normal live band wasn't there. 92 00:04:26,720 --> 00:04:29,839 Speaker 2: But Nile said, you know, Dave Lessman won't be having 93 00:04:29,839 --> 00:04:32,839 Speaker 2: his show because Live eggs on that night, so they're 94 00:04:32,839 --> 00:04:36,039 Speaker 2: canceling the Dave let him of show. That means his 95 00:04:36,120 --> 00:04:40,480 Speaker 2: band's going to be available. Why don't we just asked them? Wow? 96 00:04:40,760 --> 00:04:43,800 Speaker 2: So we did that, and luckily neither had just been 97 00:04:43,839 --> 00:04:47,040 Speaker 2: working with Madonna, so she came in. I'd just been 98 00:04:47,080 --> 00:04:49,480 Speaker 2: working with Steve Stevens from Billy IDOLSB and so he 99 00:04:49,520 --> 00:04:51,719 Speaker 2: came in, and of course Nile's a great guitarist. We 100 00:04:51,800 --> 00:04:55,000 Speaker 2: had this superstar lineup essentially just on a plate. It 101 00:04:55,120 --> 00:04:55,640 Speaker 2: was fantastic. 102 00:04:55,800 --> 00:04:57,839 Speaker 3: I think I remember an almost never ending a version 103 00:04:57,880 --> 00:05:00,640 Speaker 3: The Rendition of Revolution with Madonna to go on River. 104 00:05:00,680 --> 00:05:01,360 Speaker 3: It was wonderful. 105 00:05:02,080 --> 00:05:05,520 Speaker 1: Tom. I was a teenager in the eighties. Hair, as 106 00:05:05,560 --> 00:05:09,160 Speaker 1: we know, was very important, and you had one of 107 00:05:09,200 --> 00:05:13,880 Speaker 1: the best lords of hair of the entire eighties. Hopefully 108 00:05:13,960 --> 00:05:15,400 Speaker 1: we've all got a lot to adswer for for the 109 00:05:15,400 --> 00:05:19,000 Speaker 1: Ozone laugh. We spoke to Tony Hadley recently and he 110 00:05:19,040 --> 00:05:21,240 Speaker 1: said sometimes it took them about an hour to get 111 00:05:21,279 --> 00:05:23,480 Speaker 1: ready for a show, because there was so much involved 112 00:05:23,480 --> 00:05:27,000 Speaker 1: in their clothes. Did you how much did you get 113 00:05:27,040 --> 00:05:30,599 Speaker 1: involved with that whole eighties look and how important was 114 00:05:30,600 --> 00:05:31,159 Speaker 1: it to you? 115 00:05:31,480 --> 00:05:33,320 Speaker 2: Well? Yeah, I mean I was lucky to have a 116 00:05:33,520 --> 00:05:36,280 Speaker 2: strong guidance from Alana Curry. Of course. 117 00:05:37,720 --> 00:05:38,679 Speaker 1: She was very cool. 118 00:05:39,480 --> 00:05:42,400 Speaker 2: Is in fact, you know, we had a strict division 119 00:05:42,400 --> 00:05:44,360 Speaker 2: of labor and the Thompson Twins, and she was in 120 00:05:44,480 --> 00:05:47,800 Speaker 2: charge of the image side of things I was doing. 121 00:05:48,600 --> 00:05:51,120 Speaker 2: I did the music, and Joe did the live show. 122 00:05:51,160 --> 00:05:54,440 Speaker 2: The way that we organized that and so we got 123 00:05:54,480 --> 00:05:56,520 Speaker 2: on with it and kind of told each other what 124 00:05:56,600 --> 00:05:58,680 Speaker 2: we thought was best to do, and we pretty much 125 00:05:58,760 --> 00:06:01,000 Speaker 2: accepted it. And you know, there a great dynamic with 126 00:06:01,080 --> 00:06:03,320 Speaker 2: three people. You can't have a split decision. It goes 127 00:06:03,360 --> 00:06:06,000 Speaker 2: one way or the other every time. So we didn't 128 00:06:06,040 --> 00:06:08,120 Speaker 2: spend a lot of time arguing about things. We just 129 00:06:08,120 --> 00:06:09,039 Speaker 2: got on with it. Yeah. 130 00:06:09,279 --> 00:06:11,800 Speaker 1: Yeah, Can I ask what is Alana doing these days? 131 00:06:11,800 --> 00:06:12,680 Speaker 1: What have you seen her? 132 00:06:13,080 --> 00:06:17,000 Speaker 2: Oh? For sure? Yeah, she lives in London, okay, and 133 00:06:17,360 --> 00:06:19,599 Speaker 2: I think she has plans to move to the Southern 134 00:06:19,600 --> 00:06:23,919 Speaker 2: Hemisphere again, so that's interesting. Yeah, and yeah, she's in 135 00:06:24,000 --> 00:06:26,800 Speaker 2: great form. She's become less of a musician and more 136 00:06:26,839 --> 00:06:29,120 Speaker 2: of a conceptual artist. 137 00:06:33,920 --> 00:06:38,160 Speaker 1: She's very cool. And Joe Joe Leeway he got into 138 00:06:38,240 --> 00:06:41,800 Speaker 1: hypnotherapy when he left music because he ever hypnotized you. 139 00:06:41,480 --> 00:06:43,560 Speaker 2: Not that I know, but then how could I tell 140 00:06:44,440 --> 00:06:49,080 Speaker 2: that's right true? Maybe this whole thing is just a dream. 141 00:06:49,640 --> 00:06:55,200 Speaker 3: We didn't really get it when you and Alanda wrote 142 00:06:55,400 --> 00:06:57,040 Speaker 3: I Want That Man for Debrah Hary and know those 143 00:06:57,080 --> 00:06:59,160 Speaker 3: songs on that album, did you think we've got to 144 00:06:59,400 --> 00:07:01,920 Speaker 3: We've got to hit? It wasn't feeling obviously straight away 145 00:07:01,920 --> 00:07:03,760 Speaker 3: because it was a huge mess. 146 00:07:03,800 --> 00:07:06,360 Speaker 2: So yeah, I think we wrote two or three things 147 00:07:06,400 --> 00:07:08,279 Speaker 2: for her and that was the one that stood out. 148 00:07:08,400 --> 00:07:10,000 Speaker 2: So yeah, we knew which one was going to be 149 00:07:10,040 --> 00:07:13,960 Speaker 2: the single, and it kind of it suited her personality 150 00:07:13,960 --> 00:07:15,840 Speaker 2: and it suited her ethic at the time. You know, 151 00:07:16,040 --> 00:07:18,880 Speaker 2: it was slightly progressive, but it was also good old 152 00:07:19,200 --> 00:07:21,800 Speaker 2: art rock and roll, you know. So she sang it 153 00:07:21,840 --> 00:07:25,160 Speaker 2: really easily and we enjoyed doing that. I mean, Deborah 154 00:07:25,240 --> 00:07:27,120 Speaker 2: is exactly what it says on the tin. You know, 155 00:07:27,200 --> 00:07:30,520 Speaker 2: she is the heart punk rocker and can carry a 156 00:07:30,600 --> 00:07:33,680 Speaker 2: tune with guts and enthusiasm. 157 00:07:33,720 --> 00:07:36,400 Speaker 1: So yeah, back when you wrote the songs, did you 158 00:07:36,600 --> 00:07:39,560 Speaker 1: think that Hold Me Now would be the one that 159 00:07:39,920 --> 00:07:42,880 Speaker 1: to this day you're still hear programmed on so many 160 00:07:42,960 --> 00:07:46,400 Speaker 1: radio stations so many times a week. We certainly play 161 00:07:46,400 --> 00:07:48,120 Speaker 1: it a lot because it's timeless. 162 00:07:48,320 --> 00:07:49,840 Speaker 2: Well, yes, I did know that it was a very 163 00:07:49,840 --> 00:07:52,000 Speaker 2: strong piece of work and it was enchanting in a 164 00:07:52,040 --> 00:07:54,040 Speaker 2: way that grabbed my attention. But I didn't know it 165 00:07:54,080 --> 00:07:57,240 Speaker 2: was going to be so big. I didn't know it 166 00:07:57,360 --> 00:07:58,840 Speaker 2: was going to be so much bigger than all the 167 00:07:58,880 --> 00:08:01,760 Speaker 2: other songs, because we have a few hits, you know, which, 168 00:08:01,880 --> 00:08:03,560 Speaker 2: which is a nice thing to have when you go 169 00:08:03,640 --> 00:08:05,760 Speaker 2: out on stage thinking we've you know, we've got a 170 00:08:05,760 --> 00:08:08,440 Speaker 2: handful of things that everyone will know. But that one 171 00:08:08,560 --> 00:08:12,600 Speaker 2: somehow traveled very well. And I think it's down to 172 00:08:12,760 --> 00:08:17,600 Speaker 2: the emotional content as much as the music and actually 173 00:08:17,720 --> 00:08:19,640 Speaker 2: comes from it. You know. We wrote it because we'd 174 00:08:19,680 --> 00:08:23,640 Speaker 2: had an argument and we made up, we made friends again, 175 00:08:23,920 --> 00:08:27,640 Speaker 2: and that that was the kind of way we expressed it. Yeah, 176 00:08:27,720 --> 00:08:29,160 Speaker 2: and then we wrote a song about it. 177 00:08:29,760 --> 00:08:32,360 Speaker 3: In music, Tom, what was the last band or artist 178 00:08:32,440 --> 00:08:34,440 Speaker 3: T shirt you wored? Do you ever wear any merch. 179 00:08:34,280 --> 00:08:41,199 Speaker 2: I've probably tried on one of my own, but I 180 00:08:41,480 --> 00:08:45,400 Speaker 2: can't remember wearing anyone else's not in recent years anyway. 181 00:08:45,360 --> 00:08:48,800 Speaker 3: Right, Thompson Twins is good to have the End of 182 00:08:48,840 --> 00:08:49,840 Speaker 3: the Gap one on for this tour. 183 00:08:49,960 --> 00:08:52,160 Speaker 2: Yes, yeah, all right. 184 00:08:52,040 --> 00:08:54,720 Speaker 1: Well Tom Bailey will be the ASTA Theater Sunday, October 185 00:08:54,760 --> 00:08:56,880 Speaker 1: thirty doing Into the Gap in Full, as well as 186 00:08:56,920 --> 00:08:58,880 Speaker 1: a whole bunch of other great stuff. Tickets are through 187 00:08:58,880 --> 00:09:01,719 Speaker 1: ticket Tech Pleasure to speak to you, Tom Good to 188 00:09:01,800 --> 00:09:04,400 Speaker 2: Talk to you fantastic with Pleasures mind and I'm looking 189 00:09:04,400 --> 00:09:05,320 Speaker 2: forward to seeing you all.